How to Watch the Raiders vs Ravens Game Sunday for Free

With the NFL regular season over halfway complete, NFL fans continue to flock to their TV sets, mobile phones, connected TVs, desktops and laptops waiting to watch their favorite teams. Sunday, the Oakland Raiders will play the Baltimore Ravens at 10 a…

With the NFL regular season over halfway complete, NFL fans continue to flock to their TV sets, mobile phones, connected TVs, desktops and laptops waiting to watch their favorite teams. Sunday, the Oakland Raiders will play the Baltimore Ravens at 10 a.m. PST/1 p.m. EST at the M&T Bank Stadium in Baltimore, Maryland.

If you want to watch the game for free you have a couple of options. The NFL app and the Yahoo Sports app will be streaming the game. However, both apps are only available on your smartphones, not via Wi-Fi, so check your data plans.

But if you’re willing to pay, there’s plenty of TV-compatible options for cord-cutters.

Sports-centric service FuboTV is the most robust, with live-streamed games from CBS, NBC, Fox, NFL Network and NFL RedZone.

The NFL Network is also available on Sling TV, DirecTV Now, YouTube TV, Hulu with Live TV, and PlayStation Vue, all of which provide free trials for people who haven’t previously signed up.

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Facebook Inflated Video Views up to 900 Percent, Amended Lawsuit Says

Facebook knew of “highly misleading” metrics that inflated video views for more than a year and failed to inform its advertising partners, according to an amended lawsuit filed on Tuesday in Oakland.

Following a Wall Street Journal report in September 2016, the social network acknowledged it had miscalculated key metrics by 60 to 80 percent, but that it had only been an issue for about one month. The amended claim, filed by Las Vegas marketing firm Crowd Siren and video advertiser Jonathan Murdough, said Facebook knew about its measurement flaws as early as January 2015 — and that the issue was far more severe, inflating video views between 150 percent to 900 percent.

The lawsuit also pushes back against Facebook’s claim the measurement issues didn’t impact billings.

Also Read: Facebook Debuts Portal, Its First Video-Chat Device

“Facebook’s misrepresentations induced video advertising purchasers, including Plaintiffs, to continue purchasing video advertisements, and to purchase additional video advertisements, because purchasers believed that users were watching their videos, on average, for longer than users were actually watching their videos,” the lawsuit said.

The suit claims, pointing to internal company documents, that Facebook understood the cause of the issue by July 2015 but failed to notify its advertising partners. Facebook set up a “no PR” strategy to avoid drawing attention to the issue, the suit claims. “Facebook’s internal efforts behind the scenes reflect a company mentality of reckless indifference toward the accuracy of its metrics,” the suit added.

For a company that made nearly $40 billion in advertising revenue last year, it’s clear why a crisis of advertiser faith would rock Facebook. But the company has said the fraud claim is unwarranted and has moved to dismiss the suit.

Also Read: Facebook Exec Slams WhatsApp Founder’s Dig as ‘Whole New Standard of Low-Class’

Facebook did not immediately respond to TheWrap’s request for comment. “Suggestions that we in any way tried to hide this issue from our partners are false. We told our customers about the error when we discovered it–and updated our help center to explain the issue,” a Facebook rep told the WSJ.

Pamela Chelin contributed to this report. 

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Facebook knew of “highly misleading” metrics that inflated video views for more than a year and failed to inform its advertising partners, according to an amended lawsuit filed on Tuesday in Oakland.

Following a Wall Street Journal report in September 2016, the social network acknowledged it had miscalculated key metrics by 60 to 80 percent, but that it had only been an issue for about one month. The amended claim, filed by Las Vegas marketing firm Crowd Siren and video advertiser Jonathan Murdough, said Facebook knew about its measurement flaws as early as January 2015 — and that the issue was far more severe, inflating video views between 150 percent to 900 percent.

The lawsuit also pushes back against Facebook’s claim the measurement issues didn’t impact billings.

“Facebook’s misrepresentations induced video advertising purchasers, including Plaintiffs, to continue purchasing video advertisements, and to purchase additional video advertisements, because purchasers believed that users were watching their videos, on average, for longer than users were actually watching their videos,” the lawsuit said.

The suit claims, pointing to internal company documents, that Facebook understood the cause of the issue by July 2015 but failed to notify its advertising partners. Facebook set up a “no PR” strategy to avoid drawing attention to the issue, the suit claims. “Facebook’s internal efforts behind the scenes reflect a company mentality of reckless indifference toward the accuracy of its metrics,” the suit added.

For a company that made nearly $40 billion in advertising revenue last year, it’s clear why a crisis of advertiser faith would rock Facebook. But the company has said the fraud claim is unwarranted and has moved to dismiss the suit.

Facebook did not immediately respond to TheWrap’s request for comment. “Suggestions that we in any way tried to hide this issue from our partners are false. We told our customers about the error when we discovered it–and updated our help center to explain the issue,” a Facebook rep told the WSJ.

Pamela Chelin contributed to this report. 

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‘Mamma Mia! Here We Go Again’ Dances to $3.4 Million at Thursday Box Office

“Mamma Mia! Here We Go Again” danced to $3.4 million at the Thursday box office, while Sony’s “The Equalizer 2” took in $3.1 million at the previews.

In 2008, the original “Mamma Mia!” earned a modest $27 million opening weekend while serving as counter-programming to “The Dark Knight,” which opened the same weekend. (The adaptation of a London and Broadway stage hit eventually earned nearly $610 million worldwide on a $52 million budget.)

Independent trackers are expecting that “Here We Go Again” will improve on the opening of the original “Mamma Mia!,” projecting an opening of $32-34 million from 3,200 locations while carrying a higher production budget of $74 million.

Also Read: ‘Mamma Mia! Here We Go Again’ Is ‘Charming’ and ‘Joyful,’ Critics Say

Picking up a decade after the first film, “Mamma Mia! Here We Go Again!” sees Sophie (Amanda Seyfried) prepare for motherhood by learning about how her mom, Donna (Meryl Streep) became pregnant with her while meeting the three men who later came back into her life as Sophie’s potential father.

The ensemble cast sees Cher, Pierce Brosnan, Stellan Skarsgard, Colin Firth, Julie Walters, Dominic Cooper and Christine Baranski return, with flashback scenes that include Lily James as a young Donna with Jeremy Irvine, Hugh Skinner, and Josh Dylan. Ol Parker (“The Best Exotic Marigold Hotel”) wrote and directed the film, which has an early Rotten Tomatoes score of 80 percent.

Antoine Fuqua’s “The Equalizer 2” is also opening this weekend, with Denzel Washington reprising his role from the first action film. 2014’s “The Equalizer” opened to $34 million and made $101 million domestically. The sequel is projected to open to slightly less with $27-30 million from 3,300 locations, though Sony is expecting higher weekday grosses.

Also Read: ‘The Equalizer 2’ Film Review: Denzel Washington Returns as a Thinking Man’s Action Hero

“The Equalizer 2” holds a score of 47 percent on Rotten Tomatoes.

Opening in targeted release is BH Tilt’s “Unfriended: Dark Web,” a sequel to Blumhouse’s 2015 social media horror film “Unfriended.” Produced on a $1 million budget and depicted through a computer desktop, “Unfriended” made $64 million worldwide off a $15 million opening. “Dark Web” is expected to make half that opening, with trackers projecting a $6-8 million start. “Dark Web” holds a score of 57 percent on Rotten Tomatoes.

Finally, Lionsgate’s Summit Entertainment and Codeblack Films will send in the Oakland race dramedy “Blindspotting” for limited release this weekend.

Earning critical acclaim at Sundance, the film is written by and stars Daveed Diggs and Rafael Casal as a black ex-convict trying to peacefully finish his probation period. The film will open on 14 screens in five markets: Los Angeles, New York, Chicago, San Fransisco and Oakland, where the film takes place. It currently has an 91 percent RT score.

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Does ‘Mamma Mia! Here We Go Again’ Have a Post-Credits Scene?

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‘Mamma Mia! Here We Go Again’ Film Review: Lily James Makes Up for Near-Absence of Meryl Streep

“Mamma Mia! Here We Go Again” danced to $3.4 million at the Thursday box office, while Sony’s “The Equalizer 2” took in $3.1 million at the previews.

In 2008, the original “Mamma Mia!” earned a modest $27 million opening weekend while serving as counter-programming to “The Dark Knight,” which opened the same weekend. (The adaptation of a London and Broadway stage hit eventually earned nearly $610 million worldwide on a $52 million budget.)

Independent trackers are expecting that “Here We Go Again” will improve on the opening of the original “Mamma Mia!,” projecting an opening of $32-34 million from 3,200 locations while carrying a higher production budget of $74 million.

Picking up a decade after the first film, “Mamma Mia! Here We Go Again!” sees Sophie (Amanda Seyfried) prepare for motherhood by learning about how her mom, Donna (Meryl Streep) became pregnant with her while meeting the three men who later came back into her life as Sophie’s potential father.

The ensemble cast sees Cher, Pierce Brosnan, Stellan Skarsgard, Colin Firth, Julie Walters, Dominic Cooper and Christine Baranski return, with flashback scenes that include Lily James as a young Donna with Jeremy Irvine, Hugh Skinner, and Josh Dylan. Ol Parker (“The Best Exotic Marigold Hotel”) wrote and directed the film, which has an early Rotten Tomatoes score of 80 percent.

Antoine Fuqua’s “The Equalizer 2” is also opening this weekend, with Denzel Washington reprising his role from the first action film. 2014’s “The Equalizer” opened to $34 million and made $101 million domestically. The sequel is projected to open to slightly less with $27-30 million from 3,300 locations, though Sony is expecting higher weekday grosses.

“The Equalizer 2” holds a score of 47 percent on Rotten Tomatoes.

Opening in targeted release is BH Tilt’s “Unfriended: Dark Web,” a sequel to Blumhouse’s 2015 social media horror film “Unfriended.” Produced on a $1 million budget and depicted through a computer desktop, “Unfriended” made $64 million worldwide off a $15 million opening. “Dark Web” is expected to make half that opening, with trackers projecting a $6-8 million start. “Dark Web” holds a score of 57 percent on Rotten Tomatoes.

Finally, Lionsgate’s Summit Entertainment and Codeblack Films will send in the Oakland race dramedy “Blindspotting” for limited release this weekend.

Earning critical acclaim at Sundance, the film is written by and stars Daveed Diggs and Rafael Casal as a black ex-convict trying to peacefully finish his probation period. The film will open on 14 screens in five markets: Los Angeles, New York, Chicago, San Fransisco and Oakland, where the film takes place. It currently has an 91 percent RT score.

Related stories from TheWrap:

Does 'Mamma Mia! Here We Go Again' Have a Post-Credits Scene?

Can 'Mamma Mia' Sequel Repeat Original's Runaway Box Office Success?

'Mamma Mia! Here We Go Again' Film Review: Lily James Makes Up for Near-Absence of Meryl Streep

Female Digital Entrepreneurs on Creating Inclusive Tech Industry: ‘We Have the Power’ (Video)

Digital entrepreneur Kathryn Finney says she founded Digital Undivided, an incubator for women in tech and startups, so women can help other women and create a more inclusive tech industry.

“I started a fashion blog called Budget Fashionista, and during that time period I noticed that there were virtually no women of color in the startup space, particular in the media side of it,” Finney said Thursday at TheWrap’s Power Women Breakfast in San Francisco. “And when I sold [Budget Fashionista] and started BlogHer, I realized there were none of us at conferences, so I went to the founders of BlogHer and said, ‘I want to start something for black women and latina founders.’ I think that’s an important story about how women help other women.” 

Moderator Cathryn Posey then introduced three women guided through Digital Undivided, asking them to weigh in on why they founded their own companies in the tech space. 

Bryanda Law, CEO and founder of Quirktastic, Farah Allen, CEO and founder of The Labz and Valeska Toro, founder of Sola Travelers, all said that they noticed a lack of female diverse representation in their respective fields, and started their companies to fill that void.

See Video: Lea Thompson on Hollywood Sexual Harassment: ‘It Was Like Kryptonite’

“I love to travel and in 2017, I went on a solo trip and while I was out there, I was sexually harassed,” Toro said of the impetus for her Sola Travelers project. “The next day, I met a woman who completely changed the way I looked at the world. She was able to tell me things that I wasn’t able to find anywhere else. She was a woman living in that area, so she was able to tell me where to go, what not to do, and give me all this information that is not available to us.

“Where are women finding this information, especially when you are traveling alone as a woman?” Toro asked. “So I created this community of women who help each other travel, write reviews and recommendations and how to stay safe.”

She said that when she first thought of the name for her company, people told her “sola,” translating to “woman alone,” had a negative connotation. Her response to that is simple: “Just because you are a woman alone doesn’t mean its sad — it’s powerful.”

Law created Quirktastic, a platform that creates media and tech products for “geeks, nerds, alternatives, free spirits, and intellectuals of color,” because she said she could not find a place for “quirky” people like her to express themselves.

See Video: Oakland Mayor Libby Schaaf Calls Out Trump on Border Policy: ‘In Oakland, We Put Children in College’

“I created this community of people who felt they were misfits and that their voices weren’t heard,” Law said.

For Allen, The Labz offered a way for creative types to explore their passions while remaining mindful of the nitty-gritty of company-building. “Creatives would never be excited about business processes and my job was to fix that,” she said. “While you’re working, we’re collecting all data for your business processes.”

All three entrepreneurs asked for the support of the audience attending the breakfast. “Right now, there’s a woman obsessed with a town and dreams of going there, but doesn’t know how to start,” said Toro. “We have the power to change that — she doesn’t have to sit there alone.”

Also Read: The Scene With Lea Thompson, Madelyn Deutch at the Power Women Breakfast San Francisco (Exclusive Photos)

The July 12 breakfast was hosted by TheWrap CEO and Editor-in-Chief, Sharon Waxman, at Dolby Laboratories in San Francisco. Actress Lea Thompson and daughter Madelyn Deutch were the keynote speakers, while Compton Mayor Aja Brown and Oakland Mayor Libby Schaaf also discussed their experiences as female leaders.

TheWrap’s Power Women Breakfast series is connecting and inspiring the leading influential women of entertainment, media, technology and brands in the key cities where those women work, create, gather, network and connect. All ticket proceeds go directly to benefit women’s leadership programs and gender equity initiatives via WrapWomen Foundation.

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Digital entrepreneur Kathryn Finney says she founded Digital Undivided, an incubator for women in tech and startups, so women can help other women and create a more inclusive tech industry.

“I started a fashion blog called Budget Fashionista, and during that time period I noticed that there were virtually no women of color in the startup space, particular in the media side of it,” Finney said Thursday at TheWrap’s Power Women Breakfast in San Francisco. “And when I sold [Budget Fashionista] and started BlogHer, I realized there were none of us at conferences, so I went to the founders of BlogHer and said, ‘I want to start something for black women and latina founders.’ I think that’s an important story about how women help other women.” 

Moderator Cathryn Posey then introduced three women guided through Digital Undivided, asking them to weigh in on why they founded their own companies in the tech space. 

Bryanda Law, CEO and founder of Quirktastic, Farah Allen, CEO and founder of The Labz and Valeska Toro, founder of Sola Travelers, all said that they noticed a lack of female diverse representation in their respective fields, and started their companies to fill that void.

“I love to travel and in 2017, I went on a solo trip and while I was out there, I was sexually harassed,” Toro said of the impetus for her Sola Travelers project. “The next day, I met a woman who completely changed the way I looked at the world. She was able to tell me things that I wasn’t able to find anywhere else. She was a woman living in that area, so she was able to tell me where to go, what not to do, and give me all this information that is not available to us.

“Where are women finding this information, especially when you are traveling alone as a woman?” Toro asked. “So I created this community of women who help each other travel, write reviews and recommendations and how to stay safe.”

She said that when she first thought of the name for her company, people told her “sola,” translating to “woman alone,” had a negative connotation. Her response to that is simple: “Just because you are a woman alone doesn’t mean its sad — it’s powerful.”

Law created Quirktastic, a platform that creates media and tech products for “geeks, nerds, alternatives, free spirits, and intellectuals of color,” because she said she could not find a place for “quirky” people like her to express themselves.

“I created this community of people who felt they were misfits and that their voices weren’t heard,” Law said.

For Allen, The Labz offered a way for creative types to explore their passions while remaining mindful of the nitty-gritty of company-building. “Creatives would never be excited about business processes and my job was to fix that,” she said. “While you’re working, we’re collecting all data for your business processes.”

All three entrepreneurs asked for the support of the audience attending the breakfast. “Right now, there’s a woman obsessed with a town and dreams of going there, but doesn’t know how to start,” said Toro. “We have the power to change that — she doesn’t have to sit there alone.”

The July 12 breakfast was hosted by TheWrap CEO and Editor-in-Chief, Sharon Waxman, at Dolby Laboratories in San Francisco. Actress Lea Thompson and daughter Madelyn Deutch were the keynote speakers, while Compton Mayor Aja Brown and Oakland Mayor Libby Schaaf also discussed their experiences as female leaders.

TheWrap’s Power Women Breakfast series is connecting and inspiring the leading influential women of entertainment, media, technology and brands in the key cities where those women work, create, gather, network and connect. All ticket proceeds go directly to benefit women’s leadership programs and gender equity initiatives via WrapWomen Foundation.

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The Scene With Lea Thompson, Madelyn Deutch at the Power Women Breakfast San Francisco (Exclusive Photos)

Actress and director Lea Thompson spoke at Dolby Laboratories headquarters in San Francisco with her daughter Madelyn Deutch, who she directed in “The Year of Spectacular Men,” which Deutch wrote and in which she starred. They were the keyn…

Actress and director Lea Thompson spoke at Dolby Laboratories headquarters in San Francisco with her daughter Madelyn Deutch, who she directed in “The Year of Spectacular Men,” which Deutch wrote and in which she starred. They were the keynote at the breakfast which also included Oakland Mayor Libby Schaaf and Compton Mayor Aja Brown, along with a panel of entrepreneurial women of color. The series recognizes  influential women of entertainment, media, technology and brands, and is also held in cities like Washington D.C. and New York. Oakland Mayor

 

Lea Thompson on Hollywood Sexual Harassment: ‘It Was Like Kryptonite’ (Video)

Lea Thompson, the veteran actress who has directed her own daughter in her first feature, said on Thursday that getting sexually harassed during auditions “was like Kryptonite” – killing her ability to win roles in her younger years.

“I didn’t realize these things were unacceptable and how they kept me down all these years,” she said, speaking at TheWrap’s Power Women Breakfast in San Francisco. “I was in really bad auditions and people would start on me and it would take all my power away to the point where I didn’t get the job. It was like Kryptonite… It was obvious when a director was shopping for a girlfriend.”

See Video: Watch Lea Thompson, Madelyn Deutch at TheWrap’s Power Women Breakfast SF on Twitter Live

Thompson spoke at Dolby Laboratories headquarters in San Francisco with her daughter Madelyn Deutch, who she directed in “The Year of Spectacular Men,” which Deutch also wrote and scored. They were the keynote at the breakfast which also included Oakland Mayor Libby Schaaf and Compton Mayor Aja Brown, along with a panel of entrepreneurial women of color. The series recognizes influential women of entertainment, media, technology and brands, and is also held in cities like Washington D.C. and New York.

Referring to the #MeToo phenomenon, Deutch, 27,  said, “This movement has made me check myself in how I look at women in positions of power,” adding that she is at times unfair in her criticism of other women. “We are trained in scarcity versus abundance. There’s always been less opportunities so it’s always been, ‘Be the best at your job.’”

Thompson said that the movement has made her see progress in diverse representation and storytelling.

“I had an agent tell me there were three roles I could play:  virgins, whores and mothers,” Thompson said, who may be best known for playing Michael J. Fox’s mother in “Back to the Future.” She added: “That’s maybe why people like ‘Back to the Future’ so much, because I played all three. That’s what’s so great about diversity in storytelling and business — It’s gotten boring doing the same business model and telling the same stories… When you do diversity, you get new business, new stories, new inspiration and you appeal to the new America.”

She added, “I like that now you aren’t considered crazy if you say [on set] ‘Hey, I feel uncomfortable. Maybe we shouldn’t do that.’ I’m glad the conversation has been started.”

Deutch added that she learned a lot from casting her own movie, specifically about the lack of diversity in lead roles. She explained that she had five love interests in the movie, one of which was played by Brandon T. Jackson. When she asked him why he wanted to be a part of this movie, Jackson had a heartbreaking explanation.

“He said, ‘as a person of color, I’ve never been offered a romantic lead. I’ll go and audition for them but I’ve always been offered rapper, drug dealer, or pimp as a person of color.’ Thats what you find when you cut your path — you make discoveries that are inclusive.”

Oakland Mayor Libby Schaaf called out Donald Trump’s border policy, saying that her city puts children in college, not cages, referencing immigrant children still in detention. “This [is a] crazy national moment we find ourselves in where my government is putting children in cages,” said Schaaf. “In Oakland, we put children in college, that’s what we’re about.”

Compton Mayor Aja Brown and Schaaf also spoke about the challenges they have faced in their positions because of their gender. Before she went into politics, Brown said she thought she would have to be older to pursue her dream.

See Video: Oakland Mayor Libby Schaaf Calls Out Trump on Border Policy: ‘In Oakland, We Put Children in College’

“I assumed I had to be 40,” said the 36-year-old mayor, who was only 31 when she was first elected. “I was always asked, ‘Are you old enough?’ and I would say, ‘I think I am! There’s no age restriction!’ There are just barriers we have to do break through mentally.”

During TheWrap’s Power Women Breakfast, three female digital entrepreneurs discussed their reasons for starting their own companies. Bryanda Law, CEO and founder of Quirktastic, Farah Allen, CEO and founder of The Labz and Valeska Toro, founder of Sola Travelers, all said that they started their companies to fill a void of diverse female representation in their respective fields.

“I created this community of people who felt they were misfits and that their voices weren’t heard,” Law said about Quirktastic, a platform that creates media and tech products for “geeks, nerds, alternatives, free spirits, and intellectuals of color.” Toro founded her company, a platform for women to write reviews while traveling, so women could help other women find safe places to travel to and empower each other, conveying the idea that traveling alone doesn’t have to have a negative connotation. 

Allen, a technologist, founded The Labz, so musicians would have an easy way to protect their copyright. “Creatives would never be excited about business processes and my job was to fix that. While you’re working, we’re collecting all data for your business processes.”

“I’ve heard two things today,” Deutch said after listening to the other panels at the breakfast. “I keep hearing that we can’t do it alone and [we need] money. Those are the things I hear on a loop — you need support, scaffolding as you build the building, and you need investors.”

“To be inspired by all of you is wonderful,” Thompson said, addressing the audience. “As Michelle Obama once said, we hold each other to impossible standards and that’s what stops us from helping each other.”

Watch the video above.

Related stories from TheWrap:

Watch Judith Light, Shannon Watts Speak at TheWrap’s Power Women Breakfast NYC on Facebook Live (Video)

TimesUp Fund Logs 3,000 Complaints Since Launch, Leaders Say at Power Women Breakfast DC (Video)

Watch Sen Amy Klobuchar, Amber Tamblyn Speak at TheWrap’s Power Women Breakfast on Facebook Live (Video)

Lea Thompson, the veteran actress who has directed her own daughter in her first feature, said on Thursday that getting sexually harassed during auditions “was like Kryptonite” – killing her ability to win roles in her younger years.

“I didn’t realize these things were unacceptable and how they kept me down all these years,” she said, speaking at TheWrap’s Power Women Breakfast in San Francisco. “I was in really bad auditions and people would start on me and it would take all my power away to the point where I didn’t get the job. It was like Kryptonite… It was obvious when a director was shopping for a girlfriend.”

Thompson spoke at Dolby Laboratories headquarters in San Francisco with her daughter Madelyn Deutch, who she directed in “The Year of Spectacular Men,” which Deutch also wrote and scored. They were the keynote at the breakfast which also included Oakland Mayor Libby Schaaf and Compton Mayor Aja Brown, along with a panel of entrepreneurial women of color. The series recognizes influential women of entertainment, media, technology and brands, and is also held in cities like Washington D.C. and New York.

Referring to the #MeToo phenomenon, Deutch, 27,  said, “This movement has made me check myself in how I look at women in positions of power,” adding that she is at times unfair in her criticism of other women. “We are trained in scarcity versus abundance. There’s always been less opportunities so it’s always been, ‘Be the best at your job.'”

Thompson said that the movement has made her see progress in diverse representation and storytelling.

“I had an agent tell me there were three roles I could play:  virgins, whores and mothers,” Thompson said, who may be best known for playing Michael J. Fox’s mother in “Back to the Future.” She added: “That’s maybe why people like ‘Back to the Future’ so much, because I played all three. That’s what’s so great about diversity in storytelling and business — It’s gotten boring doing the same business model and telling the same stories… When you do diversity, you get new business, new stories, new inspiration and you appeal to the new America.”

She added, “I like that now you aren’t considered crazy if you say [on set] ‘Hey, I feel uncomfortable. Maybe we shouldn’t do that.’ I’m glad the conversation has been started.”

Deutch added that she learned a lot from casting her own movie, specifically about the lack of diversity in lead roles. She explained that she had five love interests in the movie, one of which was played by Brandon T. Jackson. When she asked him why he wanted to be a part of this movie, Jackson had a heartbreaking explanation.

“He said, ‘as a person of color, I’ve never been offered a romantic lead. I’ll go and audition for them but I’ve always been offered rapper, drug dealer, or pimp as a person of color.’ Thats what you find when you cut your path — you make discoveries that are inclusive.”

Oakland Mayor Libby Schaaf called out Donald Trump’s border policy, saying that her city puts children in college, not cages, referencing immigrant children still in detention. “This [is a] crazy national moment we find ourselves in where my government is putting children in cages,” said Schaaf. “In Oakland, we put children in college, that’s what we’re about.”

Compton Mayor Aja Brown and Schaaf also spoke about the challenges they have faced in their positions because of their gender. Before she went into politics, Brown said she thought she would have to be older to pursue her dream.

“I assumed I had to be 40,” said the 36-year-old mayor, who was only 31 when she was first elected. “I was always asked, ‘Are you old enough?’ and I would say, ‘I think I am! There’s no age restriction!’ There are just barriers we have to do break through mentally.”

During TheWrap’s Power Women Breakfast, three female digital entrepreneurs discussed their reasons for starting their own companies. Bryanda Law, CEO and founder of Quirktastic, Farah Allen, CEO and founder of The Labz and Valeska Toro, founder of Sola Travelers, all said that they started their companies to fill a void of diverse female representation in their respective fields.

“I created this community of people who felt they were misfits and that their voices weren’t heard,” Law said about Quirktastic, a platform that creates media and tech products for “geeks, nerds, alternatives, free spirits, and intellectuals of color.” Toro founded her company, a platform for women to write reviews while traveling, so women could help other women find safe places to travel to and empower each other, conveying the idea that traveling alone doesn’t have to have a negative connotation. 

Allen, a technologist, founded The Labz, so musicians would have an easy way to protect their copyright. “Creatives would never be excited about business processes and my job was to fix that. While you’re working, we’re collecting all data for your business processes.”

“I’ve heard two things today,” Deutch said after listening to the other panels at the breakfast. “I keep hearing that we can’t do it alone and [we need] money. Those are the things I hear on a loop — you need support, scaffolding as you build the building, and you need investors.”

“To be inspired by all of you is wonderful,” Thompson said, addressing the audience. “As Michelle Obama once said, we hold each other to impossible standards and that’s what stops us from helping each other.”

Watch the video above.

Related stories from TheWrap:

Watch Judith Light, Shannon Watts Speak at TheWrap's Power Women Breakfast NYC on Facebook Live (Video)

TimesUp Fund Logs 3,000 Complaints Since Launch, Leaders Say at Power Women Breakfast DC (Video)

Watch Sen Amy Klobuchar, Amber Tamblyn Speak at TheWrap's Power Women Breakfast on Facebook Live (Video)

Oakland Mayor Libby Schaaf Calls Out Trump on Border Policy: ‘In Oakland, We Put Children in College’ (Video)

Oakland Mayor Libby Schaaf called out President Donald Trump’s border policy on Thursday, saying that her city puts children in college, not cages, referencing immigrant children still in detention.

“This [is a] crazy national moment we find ourselves in where my government is putting children in cages,” said Schaaf at TheWrap’s Power Women Breakfast in San Francisco. “In Oakland, we put children in college, that’s what we’re about.”

The mayor was talking about the power of film, with the release of a new independent film highlighting race relations titled “Blindspotting,” which chronicles the changes in Oakland through the eyes of two streetwise best friends, portrayed by Daveed Diggs and Rafael Casal.

“I want to give a shout-out to film in general,” Schaaf said, in a conversation with TheWrap’s Editor in Chief Sharon Waxman and Compton Mayor Aja Brown at Dolby Laboratories. “The magic of film, the magic of all of our art forms is what we need in this difficult moment, because it’s a difficult moment — difficult for Oakland as far as speed of change, the rising cost of living, threat of gentrification […] and how we manage it. I want to recognize the power of film for us to move through difficult, uncomfortable moments and the humanity and way that that film lifts up the power and the impacts of implicit bias and institutionalized racism is really important.”

See Video: Watch Lea Thompson, Madelyn Deutch at TheWrap’s Power Women Breakfast SF on Twitter Live

Brown, who has been Compton’s mayor since 2013 and this year announced a run for the U.S. House of Representatives in California’s 44th congressional district, also talked about the challenges of her position given Compton’s reputation.

“Compton has its own personification — we know it for rap culture and crime,” she said. “That was one of the challenges because that was just one snapshot in its 130-year history. I wasn’t a mayor who had a big budget to expand the police department or anything so I had to look outside of my organization to bring resources back. I would challenge developers, retailers and companies, and having people challenge their paradigm because of power of film — that Compton is not the same city it used to be.”

See Video: Judith Light on What #MeToo Accusers Can Learn From the LGBTQ Community

Both women also explained that they’ve faced challenges in politics given their gender. Schaaf said that she was frequently told she was not “tough enough for this job,” to which she said, “I’ve given birth to two children without drugs. I am pleased to say that I have been tough enough.”

Brown also said she has had to combat ageism since she had decided to wait before entering politics because she said she rarely saw young women in the field.

“I assumed I had to be 40. I was always asked, ‘Are you old enough?’ and I would say, ‘I think I am! There’s no age restriction!’” she said. “There are just barriers we have to do break through mentally.”

TheWrap’s Power Women Breakfast series is connecting and inspiring the leading influential women of entertainment, media, technology and brands in the key cities where those women work, create, gather, network and connect. All ticket proceeds go directly to benefit women’s leadership programs and gender equity initiatives via WrapWomen Foundation.

Watch the video above.

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Senator Amy Klobuchar, Women Photographers and Iranian Feminist Author Join Power Women Breakfast Washington DC!

Oakland Mayor Libby Schaaf called out President Donald Trump’s border policy on Thursday, saying that her city puts children in college, not cages, referencing immigrant children still in detention.

“This [is a] crazy national moment we find ourselves in where my government is putting children in cages,” said Schaaf at TheWrap’s Power Women Breakfast in San Francisco. “In Oakland, we put children in college, that’s what we’re about.”

The mayor was talking about the power of film, with the release of a new independent film highlighting race relations titled “Blindspotting,” which chronicles the changes in Oakland through the eyes of two streetwise best friends, portrayed by Daveed Diggs and Rafael Casal.

“I want to give a shout-out to film in general,” Schaaf said, in a conversation with TheWrap’s Editor in Chief Sharon Waxman and Compton Mayor Aja Brown at Dolby Laboratories. “The magic of film, the magic of all of our art forms is what we need in this difficult moment, because it’s a difficult moment — difficult for Oakland as far as speed of change, the rising cost of living, threat of gentrification […] and how we manage it. I want to recognize the power of film for us to move through difficult, uncomfortable moments and the humanity and way that that film lifts up the power and the impacts of implicit bias and institutionalized racism is really important.”

Brown, who has been Compton’s mayor since 2013 and this year announced a run for the U.S. House of Representatives in California’s 44th congressional district, also talked about the challenges of her position given Compton’s reputation.

“Compton has its own personification — we know it for rap culture and crime,” she said. “That was one of the challenges because that was just one snapshot in its 130-year history. I wasn’t a mayor who had a big budget to expand the police department or anything so I had to look outside of my organization to bring resources back. I would challenge developers, retailers and companies, and having people challenge their paradigm because of power of film — that Compton is not the same city it used to be.”

Both women also explained that they’ve faced challenges in politics given their gender. Schaaf said that she was frequently told she was not “tough enough for this job,” to which she said, “I’ve given birth to two children without drugs. I am pleased to say that I have been tough enough.”

Brown also said she has had to combat ageism since she had decided to wait before entering politics because she said she rarely saw young women in the field.

“I assumed I had to be 40. I was always asked, ‘Are you old enough?’ and I would say, ‘I think I am! There’s no age restriction!'” she said. “There are just barriers we have to do break through mentally.”

TheWrap’s Power Women Breakfast series is connecting and inspiring the leading influential women of entertainment, media, technology and brands in the key cities where those women work, create, gather, network and connect. All ticket proceeds go directly to benefit women’s leadership programs and gender equity initiatives via WrapWomen Foundation.

Watch the video above.

Related stories from TheWrap:

TimesUp Fund Logs 3,000 Complaints Since Launch, Leaders Say at Power Women Breakfast DC (Video)

Watch Sen Amy Klobuchar, Amber Tamblyn Speak at TheWrap's Power Women Breakfast on Facebook Live (Video)

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Watch Lea Thompson, Madelyn Deutch at TheWrap’s Power Women Breakfast SF on Twitter Live (Video)

TheWrap’s Power Women Breakfast in San Francisco kicked off on Thursday with opening remarks by Jennifer Bowcock, VP of Global Communications and co-leader of WE, Women’s Empowerment Group at Dolby Laboratories.
The event features a spotlig…

TheWrap’s Power Women Breakfast in San Francisco kicked off on Thursday with opening remarks by Jennifer Bowcock, VP of Global Communications and co-leader of WE, Women’s Empowerment Group at Dolby Laboratories.

The event features a spotlight interview with actresses Lea Thompson and Madelyn Deutch discussing their collaboration on the film “The Year of Spectacular Men” and the joys and pitfalls of mothers and daughters working together in Hollywood.

Keynote speakers include Compton Mayor Aja Brown and Oakland Mayor Libby Schaaf. Moreover, Kathryn Finney, founder of digitalundivided, will share data from the group’s most recent Project Diane report on the state of Black and Latinx women in the entrepreneurship and innovation economies. Three female founders of digital companies, Bryanda Law, Farah Allen and Valeska Toro, will speak about defying the odds on another panel.

The July 12 breakfast is hosted by TheWrap CEO and Editor-in-Chief, Sharon Waxman, at Dolby Laboratories in San Francisco.

TheWrap’s Power Women Breakfast series is connecting and inspiring the leading influential women of entertainment, media, technology and brands in the key cities where those women work, create, gather, network and connect. All ticket proceeds go directly to benefit women’s leadership programs and gender equity initiatives via WrapWomen Foundation.

Watch the video below.

 

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The Scene at TheWrap's Power Women Breakfast Washington DC (Photos)

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Ghost Ship defendants take plea deal, will serve fewer than 10 years in jail

In December of 2016, a fire at the DIY warehouse venue in Oakland, California known as “Ghost Ship” killed 36 people, making it the deadliest building fire in the U.S. in over a decade. The venue’s founder, Derick Almena, was blamed for multiple code v…

In December of 2016, a fire at the DIY warehouse venue in Oakland, California known as “Ghost Ship” killed 36 people, making it the deadliest building fire in the U.S. in over a decade. The venue’s founder, Derick Almena, was blamed for multiple code violations in the building, including a lack of fire extinguishers…

Read more...

Lionsgate Nabs Domestic Rights to ‘Blindspotting’

Lionsgate has won the domestic distribution rights to Sundance’s arguable crown jewel, “Blindspotting.”

From writers and stars Daveed Diggs and Rafael Casal, and director Carlos Lopez Estrada, the Oakland-set film explores multiple themes of race, class and identity.

Snoot Entertainment’s Jess Calder and Keith Calder produced alongside Diggs and Casal.

More to come…

Related stories from TheWrap:

Inside ‘Blindspotting’s Unmissable Scene About the N Word (Video)

‘Blindspotting’ Bidding War: Neon, The Orchard, CBS Films Chase Racial Drama

‘Blindspotting’ Film Review: Ambitious Oakland Tale Suffers from Too Many Ideas

Lionsgate has won the domestic distribution rights to Sundance’s arguable crown jewel, “Blindspotting.”

From writers and stars Daveed Diggs and Rafael Casal, and director Carlos Lopez Estrada, the Oakland-set film explores multiple themes of race, class and identity.

Snoot Entertainment’s Jess Calder and Keith Calder produced alongside Diggs and Casal.

More to come…

Related stories from TheWrap:

Inside 'Blindspotting's Unmissable Scene About the N Word (Video)

'Blindspotting' Bidding War: Neon, The Orchard, CBS Films Chase Racial Drama

'Blindspotting' Film Review: Ambitious Oakland Tale Suffers from Too Many Ideas

Sundance So Far: Festival Gets Woke With Strong Set of Diverse Films

A rich crop of satisfying movies featuring themes of race and gender have stood out at 2018’s Sundance Film Festival so far, displaying a newfound confidence on issues that have divided the country.

From the funny-not-funny Oakland, Calif., drama “Blindspotting” to the micro-aggression symphony “Tyrel” to the satire “Sorry to Bother You” to Idris Elba’s tale of Jamaican immigrants in England in the early 1970s, “Yardie,” the films span a range of tone and undertone.

What they share is the strength of the voices and performances. Sundance always features diverse voices, but the quality has never been higher. In the years since #OscarsSoWhite, it seems that talent and stories about underrerpresented communities have found their way to Park City in significant numbers — and rather than feeling as if the festival is taking work to satisfy a quota, this year’s films simply seem to be an integral part of the festival’s longstanding commitment to showcasing new voices.

Also Read: ‘Tyrel’: Race, Class and Bad Manners Collide in Showcase for Jason Mitchell

“Blindspotting” was a script nine years in the making from stars Daveed Diggs and Rafael Casal. It explores two best friends trying to define themselves in the social, political and racial pressure cooker of Oakland. It’s an unflinching look at what happens when those who are other cannot divorce the political from the personal.

These diverse voices are not limited to trauma. In Boots Riley’s “Sorry to Bother You,” LaKeith Stanfield plays a telemarketer who unlocks the keys to success when he puts on his “white voice” with customers. Sales skyrocket, which creates tension with his activist girlfriend (Tessa Thompson) as he becomes the object of insane boss Armie Hammer’s approval.

Meanwhile, women’s films are also taking center stage at the festival in the year of #MeToo and #TimesUp.  A full 43 female directors have joined the lineup across sections in the feature-film categories. If you include short films in the count, 42 percent of Sundance directors are female this year, a festival spokesperson told TheWrap.

Also Read: ‘Blindspotting’ Film Review: Ambitious Oakland Tale Suffers from Too Many Ideas

Among them are Cathy Yan’s notable “Dead Pigs,” a mosaic of stories set against a 2013 phenomenon when 16,000 dead pigs surfaced in Shanghai’s Huangpu River In the film, Yanexplores the isolation she felt growing up in both China and the U.S.

Elizabeth Chomko’s writer-director debut “What They Had” explores Alzheimer’s with the help of Blythe Danner and Hilary Swank. Sara Colangelo also made waves as a writer-director with “The Kindergarten Teacher,” starring Maggie Gyllenhaal, about a woman teetering between her conventional life and her passion for art.

Other films directed by men often as not put women front and center. Wash Westmoreland’s “Colette,” with a towering performance by Kiera Knightley as the feminist icon, was one of two set in the 1890s, a time of tumultuous cultural, economic and political change. (The film sold to Bleecker Street and 30West in one if the few deals in the festival so far; more on that in a moment.)

The other was “Lizzie,” about hatchet-wielding Lizzie Borden (Chloe Sevigny), who did her nefarious deed in 1892. Both manage to set the stage for modern womanhood and the complicated world of contemporary feminism.

Also Read: ‘Lizzie’ Film Review: Chloë Sevigny Makes the Infamous Killer a Rebel With a Cause

In Paul Dano’s directorial debut, the austere Richard Ford adaptation “Wildlife,” Carey Mulligan is raw and riveting as a Montana housewife chafing against the restrictions placed on women in the early 1960s. In Jesse Peretz’s “Juliet, Naked,” Rose Byrne is utterly charming and affecting as her character tries to find independence (while sort-of romancing a reclusive American rock star) in a small British town.

The Sundance documentary slate is once again a strong point, with “The Price of Everything,” “The Sentence,” “Three Identical Strangers,” “Believer,” “Robin Williams: Inside My Mind” and “Won’t You Be My Neighbor?” among the many docs that have drawn praise.

And many of the most high-profile docs at the festival are about women, including Supreme Court Justice Ruth Bader Ginsberg (“RBG”), artist Yayoi Kusama (“Kusama – Infinity”), activist Nadia Murad (“On Her Shoulders”), attorney Gloria Allred (“Seeing Allred”), singer M.I.A. (“Matangi/Maya/M.I.A.”), punk/fashion grand dame Vivien Westwood (“Westwood: Punk, Icon, Activist”), rocker Joan Jett (“Bad Reputation”) and actress Jane Fonda (“Jane Fonda in Five Acts”).

Also Read: Jane Fonda, Tessa Thompson Fire Up Women’s Respect Rally in Sundance

Perhaps none of the films hit the level of unanimous raves prompted by recent-year Sundance hits like “Call Me by Your Name,” “Me and Earl and the Dying Girl” and “Beasts of the Southern Wild,” but quality seems to have reached a high.

Still, sales have initially proved chilly. As TheWrap predicted walking into Sundance, buyers are more cautious than ever thanks to multiple factors. Indie institutions like Fox Searchlight (recently acquired by Disney) and Focus Features are facing tough competition from the deep-pockets of streaming giants like Netflix and Amazon, though deal-makers have begun to resist the worldwide exclusivity the streamers demand for their subscribers.

Discounting pre-sold titles (mostly docs), the biggest deal to close so far has been for “Colette,” which sold for seven figures on Sunday to Bleecker Street and 30West. But that sale was followed by the bidding war for “Blindspotting,” as buyers may begin to open their wallets as the opening weekend closes.

But money remains tight. Producers are better fed from the money they raise on international sales, one top dealmaker told TheWrap in Park City, but increasingly cannot convince the streaming giants to accept only North American rights. In addition, many in the marketare wary after the #MeToo movement has claimed several casualties in the indie market, with deals unraveling for Louis C.K.’s “I Love You, Daddy” and Morgan Spurlock’s “Supersize Me 2: Holy Chicken” after their filmmakers faced misconduct accusations.

Also Read: Idris Elba Insists He Wasn’t Thinking About Modern Race Issues With ’70s-Set ‘Yardie’ (Video)

The market would be wise to wake up to the caliber of films in Park City this year. They reveal a conscious nurturing of diverse voices, which can only serve our industry and audiences as they are heard, financed, produced and distributed.

In the words of Jane Fonda, addressing a Park City crowd at this year’s Respect Rally, thrown by the organizers of last year’s Women’s March: “This kind of change doesn’t just come about through protest. It comes through organizing.”

Related stories from TheWrap:

Sundance Scene and Heard: Black Eyed Peas, Issa Rae, Joaquin Phoenix and More (Photos)

Jane Fonda, Tessa Thompson Fire Up Women’s Respect Rally in Sundance

MoviePass to Co-Acquire Movies With Distributors, Starting at Sundance

A rich crop of satisfying movies featuring themes of race and gender have stood out at 2018’s Sundance Film Festival so far, displaying a newfound confidence on issues that have divided the country.

From the funny-not-funny Oakland, Calif., drama “Blindspotting” to the micro-aggression symphony “Tyrel” to the satire “Sorry to Bother You” to Idris Elba’s tale of Jamaican immigrants in England in the early 1970s, “Yardie,” the films span a range of tone and undertone.

What they share is the strength of the voices and performances. Sundance always features diverse voices, but the quality has never been higher. In the years since #OscarsSoWhite, it seems that talent and stories about underrerpresented communities have found their way to Park City in significant numbers — and rather than feeling as if the festival is taking work to satisfy a quota, this year’s films simply seem to be an integral part of the festival’s longstanding commitment to showcasing new voices.

“Blindspotting” was a script nine years in the making from stars Daveed Diggs and Rafael Casal. It explores two best friends trying to define themselves in the social, political and racial pressure cooker of Oakland. It’s an unflinching look at what happens when those who are other cannot divorce the political from the personal.

These diverse voices are not limited to trauma. In Boots Riley’s “Sorry to Bother You,” LaKeith Stanfield plays a telemarketer who unlocks the keys to success when he puts on his “white voice” with customers. Sales skyrocket, which creates tension with his activist girlfriend (Tessa Thompson) as he becomes the object of insane boss Armie Hammer’s approval.

Meanwhile, women’s films are also taking center stage at the festival in the year of #MeToo and #TimesUp.  A full 43 female directors have joined the lineup across sections in the feature-film categories. If you include short films in the count, 42 percent of Sundance directors are female this year, a festival spokesperson told TheWrap.

Among them are Cathy Yan’s notable “Dead Pigs,” a mosaic of stories set against a 2013 phenomenon when 16,000 dead pigs surfaced in Shanghai’s Huangpu River In the film, Yanexplores the isolation she felt growing up in both China and the U.S.

Elizabeth Chomko’s writer-director debut “What They Had” explores Alzheimer’s with the help of Blythe Danner and Hilary Swank. Sara Colangelo also made waves as a writer-director with “The Kindergarten Teacher,” starring Maggie Gyllenhaal, about a woman teetering between her conventional life and her passion for art.

Other films directed by men often as not put women front and center. Wash Westmoreland’s “Colette,” with a towering performance by Kiera Knightley as the feminist icon, was one of two set in the 1890s, a time of tumultuous cultural, economic and political change. (The film sold to Bleecker Street and 30West in one if the few deals in the festival so far; more on that in a moment.)

The other was “Lizzie,” about hatchet-wielding Lizzie Borden (Chloe Sevigny), who did her nefarious deed in 1892. Both manage to set the stage for modern womanhood and the complicated world of contemporary feminism.

In Paul Dano’s directorial debut, the austere Richard Ford adaptation “Wildlife,” Carey Mulligan is raw and riveting as a Montana housewife chafing against the restrictions placed on women in the early 1960s. In Jesse Peretz’s “Juliet, Naked,” Rose Byrne is utterly charming and affecting as her character tries to find independence (while sort-of romancing a reclusive American rock star) in a small British town.

The Sundance documentary slate is once again a strong point, with “The Price of Everything,” “The Sentence,” “Three Identical Strangers,” “Believer,” “Robin Williams: Inside My Mind” and “Won’t You Be My Neighbor?” among the many docs that have drawn praise.

And many of the most high-profile docs at the festival are about women, including Supreme Court Justice Ruth Bader Ginsberg (“RBG”), artist Yayoi Kusama (“Kusama – Infinity”), activist Nadia Murad (“On Her Shoulders”), attorney Gloria Allred (“Seeing Allred”), singer M.I.A. (“Matangi/Maya/M.I.A.”), punk/fashion grand dame Vivien Westwood (“Westwood: Punk, Icon, Activist”), rocker Joan Jett (“Bad Reputation”) and actress Jane Fonda (“Jane Fonda in Five Acts”).

Perhaps none of the films hit the level of unanimous raves prompted by recent-year Sundance hits like “Call Me by Your Name,” “Me and Earl and the Dying Girl” and “Beasts of the Southern Wild,” but quality seems to have reached a high.

Still, sales have initially proved chilly. As TheWrap predicted walking into Sundance, buyers are more cautious than ever thanks to multiple factors. Indie institutions like Fox Searchlight (recently acquired by Disney) and Focus Features are facing tough competition from the deep-pockets of streaming giants like Netflix and Amazon, though deal-makers have begun to resist the worldwide exclusivity the streamers demand for their subscribers.

Discounting pre-sold titles (mostly docs), the biggest deal to close so far has been for “Colette,” which sold for seven figures on Sunday to Bleecker Street and 30West. But that sale was followed by the bidding war for “Blindspotting,” as buyers may begin to open their wallets as the opening weekend closes.

But money remains tight. Producers are better fed from the money they raise on international sales, one top dealmaker told TheWrap in Park City, but increasingly cannot convince the streaming giants to accept only North American rights. In addition, many in the marketare wary after the #MeToo movement has claimed several casualties in the indie market, with deals unraveling for Louis C.K.’s “I Love You, Daddy” and Morgan Spurlock’s “Supersize Me 2: Holy Chicken” after their filmmakers faced misconduct accusations.

The market would be wise to wake up to the caliber of films in Park City this year. They reveal a conscious nurturing of diverse voices, which can only serve our industry and audiences as they are heard, financed, produced and distributed.

In the words of Jane Fonda, addressing a Park City crowd at this year’s Respect Rally, thrown by the organizers of last year’s Women’s March: “This kind of change doesn’t just come about through protest. It comes through organizing.”

Related stories from TheWrap:

Sundance Scene and Heard: Black Eyed Peas, Issa Rae, Joaquin Phoenix and More (Photos)

Jane Fonda, Tessa Thompson Fire Up Women's Respect Rally in Sundance

MoviePass to Co-Acquire Movies With Distributors, Starting at Sundance

Inside ‘Blindspotting’s Unmissable Scene About the N Word (Video)

In “Blindspotting,” two childhood best friends navigate their changing hometown and their problematic relationship.

Carlos López Estrada’s film has been earning raves for its depiction of an intersectional community looking to define themselves against police oppression, bias and gentrification.

The most crucial scene in “Blindspotting,” perhaps the best of the entire festival, is a painful confrontation between leads Colin (Daveed Diggs) and Miles (Rafael Casal).

The men have just fled a house party thrown by a lily-white tech guru who has planted roots in an Oakland legacy neighborhood. Miles violently beats a black male partygoer who mocks his mannerisms. Non-black Miles is a product of Oakland, you see, he speaks with the same flow and vernacular and behaves with the same recklessness and aggression as many of his non-white counterparts.

Also Read: Idris Elba Insists He Wasn’t Thinking About Modern Race Issues With ’70s-Set ‘Yardie’ (Video)

The partygoer, however, thinks Miles is a poser. A “culture vulture” of the highest order, appropriating other races for his own identity. Miles implodes, and after the beating the men take refuge in an abandoned parking lot.

Colin was celebrating his final day of probation for a felony assault charge. He doesn’t need this trouble, the kind that Miles has been getting him into since they were 12. Colin is facing the impossible battle of reconciling his hope and aspiration with the traps of the culture he grew up in. There’s an undeniable feeling that he thinks Miles is in a different position.

Colin asks a tough question of Miles: “Why do you let me call you n—-a?”

The question stings, of course, because Miles had absolutely never addressed Colin with the word.

“You’re the n—a they’re out here looking for,” Colin says of Miles and his recklessness.

Also Read: ‘Tyrel’: Race, Class and Bad Manners Collide in Showcase for Jason Mitchell

Speaking with TheWrap at the Acura Studios at Sundance, screenwriters Diggs and Casal and their director Estrada spoke to the gravity of the scene — one of the first written in a script they started nine years ago.

“That was the first time we all realized we were doing something that we thought we understood, but hearing those words elevated it,” Estrada said.

“I sat there and called my best friend a n—a for eight hours,” Diggs said.

“All the issues that come up from the discussion of race, and who has ownership of what, and how does history paint somebody all of that is a given” he said. “The real stakes in that is the way they’ve hurt each other as friends.”

Casal envisioned it a “simple conversation between two people, and [we] reverse engineers the script from there. How would two people in a buddy comedy ever go to a place where they would say this to each other?”

Watch the full interview above.

Related stories from TheWrap:

Sundance Scene and Heard: Black Eyed Peas, Issa Rae, Joaquin Phoenix and More (Photos)

Common, Jane Fonda and the Scene at the Respect Rally in Sundance (Photos)

Watch the Sundance Respect Rally Livestream Here (Video)

In “Blindspotting,” two childhood best friends navigate their changing hometown and their problematic relationship.

Carlos López Estrada’s film has been earning raves for its depiction of an intersectional community looking to define themselves against police oppression, bias and gentrification.

The most crucial scene in “Blindspotting,” perhaps the best of the entire festival, is a painful confrontation between leads Colin (Daveed Diggs) and Miles (Rafael Casal).

The men have just fled a house party thrown by a lily-white tech guru who has planted roots in an Oakland legacy neighborhood. Miles violently beats a black male partygoer who mocks his mannerisms. Non-black Miles is a product of Oakland, you see, he speaks with the same flow and vernacular and behaves with the same recklessness and aggression as many of his non-white counterparts.

The partygoer, however, thinks Miles is a poser. A “culture vulture” of the highest order, appropriating other races for his own identity. Miles implodes, and after the beating the men take refuge in an abandoned parking lot.

Colin was celebrating his final day of probation for a felony assault charge. He doesn’t need this trouble, the kind that Miles has been getting him into since they were 12. Colin is facing the impossible battle of reconciling his hope and aspiration with the traps of the culture he grew up in. There’s an undeniable feeling that he thinks Miles is in a different position.

Colin asks a tough question of Miles: “Why do you let me call you n—-a?”

The question stings, of course, because Miles had absolutely never addressed Colin with the word.

“You’re the n—a they’re out here looking for,” Colin says of Miles and his recklessness.

Speaking with TheWrap at the Acura Studios at Sundance, screenwriters Diggs and Casal and their director Estrada spoke to the gravity of the scene — one of the first written in a script they started nine years ago.

“That was the first time we all realized we were doing something that we thought we understood, but hearing those words elevated it,” Estrada said.

“I sat there and called my best friend a n—a for eight hours,” Diggs said.

“All the issues that come up from the discussion of race, and who has ownership of what, and how does history paint somebody all of that is a given” he said. “The real stakes in that is the way they’ve hurt each other as friends.”

Casal envisioned it a “simple conversation between two people, and [we] reverse engineers the script from there. How would two people in a buddy comedy ever go to a place where they would say this to each other?”

Watch the full interview above.

Related stories from TheWrap:

Sundance Scene and Heard: Black Eyed Peas, Issa Rae, Joaquin Phoenix and More (Photos)

Common, Jane Fonda and the Scene at the Respect Rally in Sundance (Photos)

Watch the Sundance Respect Rally Livestream Here (Video)

‘Blindspotting’ Bidding War: Neon, The Orchard, CBS Films Chase Racial Drama

Three distributors – Neon, The Orchard and CBS Films – are aggressively courting the buzzy, race-themed Sundance drama “Blindspotting,” multiple individuals told TheWrap.

MoviePass, the moviegoing subscription service that announced plans to acquire films at the festival, is also seeking a co-release with whoever ends up buying the film, one individual close to the negotiations  said.

Carlos Lopez Estrada directed the buddy story starring Daveed Diggs and Rafael Casal, who wrote the screenplay. The film tells the story of two friends in Oakland, facing probation, police violence and the pressure of hipster tech gentrification. The film opened the festival on Thursday and has been generating buzz ever since. The festival has produced very few sales thus far, the most notable being Keira Knightley’s “Collette.”

Also Read: ‘Blindspotting’ Film Review: Ambitious Oakland Tale Suffers from Too Many Ideas

The co-release would seek an opening date tied to the mid-term elections in November, according to the insider, to capitalize on the timely themes of race and class in the film. Another insider told TheWrap that sales agent WME got a numerous calls after “Sorry to Bother You” screened at the festival on Saturday night. Distributors wanted to see both films before deciding which was a better fit. The insider also said the negotiations are going to go slow while they hear out the marketing and distribution plans of each player.

Also Read: Keira Knightley’s ‘Colette’ Sells to Bleecker Street and 30West

Neon’s position in the bidding is not as strong as The Orchard’s or CBS Films’, another individual said, who added they may have bowed out in face of the competition.

From the review: The film opens with Collin (Diggs) being released from prison on probation; he has to live in a halfway house for a year, remaining employed and obeying a curfew, after which time he will be fully released. Jump ahead eleven months and 27 days to the last 72 hours of his probation, where he’s trying to get out of a car where his lifelong friend Miles (Casal) is buying a gun. It’s a hilarious scene, one that’s as much about their local burger joint going vegan-umami as it is about firearms.

“Blindspotting” was produced by Snoot Entertainment.

MoviePass and WME had no comment. TheWrap also reached out to CBS Films, The Orchard and Neon. None immediately responded

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Chloë Sevigny, Michael Shannon and More Sundance Portraits From TheWrap at the Acura Studios (Photos)

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Sundance Scene and Heard: Black Eyed Peas, Issa Rae, Joaquin Phoenix and More (Photos)

Three distributors – Neon, The Orchard and CBS Films – are aggressively courting the buzzy, race-themed Sundance drama “Blindspotting,” multiple individuals told TheWrap.

MoviePass, the moviegoing subscription service that announced plans to acquire films at the festival, is also seeking a co-release with whoever ends up buying the film, one individual close to the negotiations  said.

Carlos Lopez Estrada directed the buddy story starring Daveed Diggs and Rafael Casal, who wrote the screenplay. The film tells the story of two friends in Oakland, facing probation, police violence and the pressure of hipster tech gentrification. The film opened the festival on Thursday and has been generating buzz ever since. The festival has produced very few sales thus far, the most notable being Keira Knightley’s “Collette.”

The co-release would seek an opening date tied to the mid-term elections in November, according to the insider, to capitalize on the timely themes of race and class in the film. Another insider told TheWrap that sales agent WME got a numerous calls after “Sorry to Bother You” screened at the festival on Saturday night. Distributors wanted to see both films before deciding which was a better fit. The insider also said the negotiations are going to go slow while they hear out the marketing and distribution plans of each player.

Neon’s position in the bidding is not as strong as The Orchard’s or CBS Films’, another individual said, who added they may have bowed out in face of the competition.

From the review: The film opens with Collin (Diggs) being released from prison on probation; he has to live in a halfway house for a year, remaining employed and obeying a curfew, after which time he will be fully released. Jump ahead eleven months and 27 days to the last 72 hours of his probation, where he’s trying to get out of a car where his lifelong friend Miles (Casal) is buying a gun. It’s a hilarious scene, one that’s as much about their local burger joint going vegan-umami as it is about firearms.

“Blindspotting” was produced by Snoot Entertainment.

MoviePass and WME had no comment. TheWrap also reached out to CBS Films, The Orchard and Neon. None immediately responded

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NBA Finals: Can Cavs-Warriors ‘Three-Match’ Top Last Year’s Record Ratings?

LeBron James restored glory to Titletown, USA, last year, when the Cleveland Cavaliers upset the favored Golden State Warriors in the 2016 NBA Finals. In doing so, the Cavs also enacted revenge, as the ballers from the Bay Area beat them for the Larry O’Brien Trophy a year earlier.

Tonight, a “three-match” tips off, as the two dominant pro-hoops squads do battle in a best-of-seven championship series yet again. No matter who hoists the hardware in the end, there will be one clear winner: ABC. But can the struggling broadcaster come anywhere near last year’s huge Nielsen TV ratings?

In a phrase, probably not — but here’s hoping. After all, this is Disney we’re talking about, and you can never discount magic.

Also Read: Jason Whitlock Blasts LeBron James: ‘He’s Not a Victim’ (Audio)

That’s exactly what the 2017 NBA Finals had going for them. The showdown went the full seven games, which is really the most important ingredient to the host network getting a smash hit.

Those extra contests are worth even more than better media markets would be, which is something ESPN’s sister network found out about last year. After all, while San Francisco-Oakland-San Jose is the sixth-largest market in America, Cleveland-Akron is down at No. 19.

In other words, in terms of potential tune-in, the last three years hasn’t exactly been Lakers-Knicks — but you won’t hear advertisers complaining.

Also Read: LeBron James Reacts to Racist Graffiti Attack: ‘Being Black in America Is Tough’

Plus, a long series breeds more interest from casual fans, the kind that are more interested in witnessing history and keeping up at the water-cooler than they are invested in the actual outcome of a few games.

Last year’s Game 7 hauled in 30.799 million total viewers, the most ever for a basketball game on ABC. Counting all networks, that was the largest overall audience since Game 6 of the 1998 NBA Finals, way back when Michael Jordan retired from the Chicago Bulls. He’d come back after trying his swing at baseball, but never wear red again.

All-told, the 2016 Finals on ABC averaged 20.166 million total viewers, making them the most-watched National Basketball Association championship series since that same Jordan triumph. One No. 23 keeping up with another.

Also Read: LeBron James’ LA Home Vandalized With N-Word Graffiti

But the big question on Thursday is whether or not history can repeat itself, from a standpoint of both game quality and quantity. If the NBA’s two top teams prove to be as evenly matched as last year, then maybe. Even 2015’s performance would put smiles on the faces of ABC executives — that initial modern-day Cavs-Warriors match-up was the second most-watched NBA Finals on ABC. Not bad.

The problem this year is that new Warriors’ Kevin Durant could single handedly make this a five or six-game series, as opposed to seven. His inclusion — along with very different regular season records between the two teams — explains why Golden State is currently favored over the defending champs. They’ve also got home-court advantage.

The Cavs? Well, they’ve still got King James. And right now, he’s angry.

Also Read: Charles Barkley ‘Uncomfortable’ Seeing Isaiah Thomas Cry After Death of Sister (Video)

Admittedly, last year had a little more oomph than this current one. After all, Cleveland hadn’t won a professional sports championship in 52 years, and prodigal son James had yet to make good on that big promise. Plus, Golden State had set a regular season record with 73 wins, besting Jordan’s 1995-96 Bulls and setting up a David vs. Goliath-style scenario — one that ended up with a Biblical payoff.

To steal a final reference from the good book, we’ll find out soon enough if viewership for this year’s NBA Finals will fill up an entire ark, or simply a (last) supper table.

The 2017 NBA Finals tip off tonight at 9 p.m. ET/6 p.m. PT on ABC.

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LeBron James restored glory to Titletown, USA, last year, when the Cleveland Cavaliers upset the favored Golden State Warriors in the 2016 NBA Finals. In doing so, the Cavs also enacted revenge, as the ballers from the Bay Area beat them for the Larry O’Brien Trophy a year earlier.

Tonight, a “three-match” tips off, as the two dominant pro-hoops squads do battle in a best-of-seven championship series yet again. No matter who hoists the hardware in the end, there will be one clear winner: ABC. But can the struggling broadcaster come anywhere near last year’s huge Nielsen TV ratings?

In a phrase, probably not — but here’s hoping. After all, this is Disney we’re talking about, and you can never discount magic.

That’s exactly what the 2017 NBA Finals had going for them. The showdown went the full seven games, which is really the most important ingredient to the host network getting a smash hit.

Those extra contests are worth even more than better media markets would be, which is something ESPN’s sister network found out about last year. After all, while San Francisco-Oakland-San Jose is the sixth-largest market in America, Cleveland-Akron is down at No. 19.

In other words, in terms of potential tune-in, the last three years hasn’t exactly been Lakers-Knicks — but you won’t hear advertisers complaining.

Plus, a long series breeds more interest from casual fans, the kind that are more interested in witnessing history and keeping up at the water-cooler than they are invested in the actual outcome of a few games.

Last year’s Game 7 hauled in 30.799 million total viewers, the most ever for a basketball game on ABC. Counting all networks, that was the largest overall audience since Game 6 of the 1998 NBA Finals, way back when Michael Jordan retired from the Chicago Bulls. He’d come back after trying his swing at baseball, but never wear red again.

All-told, the 2016 Finals on ABC averaged 20.166 million total viewers, making them the most-watched National Basketball Association championship series since that same Jordan triumph. One No. 23 keeping up with another.

But the big question on Thursday is whether or not history can repeat itself, from a standpoint of both game quality and quantity. If the NBA’s two top teams prove to be as evenly matched as last year, then maybe. Even 2015’s performance would put smiles on the faces of ABC executives — that initial modern-day Cavs-Warriors match-up was the second most-watched NBA Finals on ABC. Not bad.

The problem this year is that new Warriors’ Kevin Durant could single handedly make this a five or six-game series, as opposed to seven. His inclusion — along with very different regular season records between the two teams — explains why Golden State is currently favored over the defending champs. They’ve also got home-court advantage.

The Cavs? Well, they’ve still got King James. And right now, he’s angry.

Admittedly, last year had a little more oomph than this current one. After all, Cleveland hadn’t won a professional sports championship in 52 years, and prodigal son James had yet to make good on that big promise. Plus, Golden State had set a regular season record with 73 wins, besting Jordan’s 1995-96 Bulls and setting up a David vs. Goliath-style scenario — one that ended up with a Biblical payoff.

To steal a final reference from the good book, we’ll find out soon enough if viewership for this year’s NBA Finals will fill up an entire ark, or simply a (last) supper table.

The 2017 NBA Finals tip off tonight at 9 p.m. ET/6 p.m. PT on ABC.

Related stories from TheWrap:

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Former NFL Star Marshawn Lynch’s Debut Film ‘Showcases the Real Oakland’ (Exclusive Video)

Former NFL star Marshawn Lynch is premiering the first film from his Beast Mode Productions at the Oakland Film Festival’s Grand Lake Theater Thursday night — and it’s all about his home city.

“A Hundred Blocks,” which features a cast and crew drawn entirely from the Bay Area’s film scene, follows the life of Jaleel, a young man trying to find his way in Oakland, California, as his life — and those of his friends and family members — become increasingly entangled with the city’s police department and political leaders.

The black-and-white trailer doesn’t hold back, including scenes of crack cocaine being cooked up and plenty of gunfire. It also doesn’t shy away from the often-grim reality for so many of the city’s residents — which Lynch and his production team wanted to highlight.

Also Read: Tony Romo to Join CBS Sports After Retiring From NFL

“We are beyond excited for the premiere of this thought-provoking film that we believe will have a great impact on the community of Oakland, as well as other communities throughout the country,” director and producer Diaunte Thompson said in a statement.

The idea for the movie came about in 2012, when Thompson and writer/producer Arthur Walls started discussing the “Hundred Blocks” plan in Oakland (referring to a plan by former mayor Jean Quan to focus on the 100 most violent blocks in the city), which they’d seen on the news.

They engaged producer and director of photography Mike Revolvalcke and co-producer Lathan Hodge to produce a movie “that could showcase the real Oakland.” The producers also wanted to show how things may change — but patterns remain, and the cycle continues, as people either try to change or just get out.

Also Read: Phil Simms Found Out About CBS Demotion for Tony Romo From His Son

Lynch is a former All-Pro running back who played nine years in the NFL, winning Super Bowl XLVIII as a member of the Seattle Seahawks before announcing his retirement on Feb. 7, 2016, via Twitter. He now reportedly in talks with the Oakland Raiders and several other teams about making a comeback.

“It’s a movie y’all!” he said in the statement. “Yes Lawd.”

Watch the trailer above.

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Former NFL star Marshawn Lynch is premiering the first film from his Beast Mode Productions at the Oakland Film Festival’s Grand Lake Theater Thursday night — and it’s all about his home city.

“A Hundred Blocks,” which features a cast and crew drawn entirely from the Bay Area’s film scene, follows the life of Jaleel, a young man trying to find his way in Oakland, California, as his life — and those of his friends and family members — become increasingly entangled with the city’s police department and political leaders.

The black-and-white trailer doesn’t hold back, including scenes of crack cocaine being cooked up and plenty of gunfire. It also doesn’t shy away from the often-grim reality for so many of the city’s residents — which Lynch and his production team wanted to highlight.

“We are beyond excited for the premiere of this thought-provoking film that we believe will have a great impact on the community of Oakland, as well as other communities throughout the country,” director and producer Diaunte Thompson said in a statement.

The idea for the movie came about in 2012, when Thompson and writer/producer Arthur Walls started discussing the “Hundred Blocks” plan in Oakland (referring to a plan by former mayor Jean Quan to focus on the 100 most violent blocks in the city), which they’d seen on the news.

They engaged producer and director of photography Mike Revolvalcke and co-producer Lathan Hodge to produce a movie “that could showcase the real Oakland.” The producers also wanted to show how things may change — but patterns remain, and the cycle continues, as people either try to change or just get out.

Lynch is a former All-Pro running back who played nine years in the NFL, winning Super Bowl XLVIII as a member of the Seattle Seahawks before announcing his retirement on Feb. 7, 2016, via Twitter. He now reportedly in talks with the Oakland Raiders and several other teams about making a comeback.

“It’s a movie y’all!” he said in the statement. “Yes Lawd.”

Watch the trailer above.

Related stories from TheWrap:

Amazon Pays $50 Million to Stream 10 Thursday Night NFL Games This Season

Tony Romo to Join CBS Sports After Retiring From NFL

ESPN Names Samantha Ponder, Suzy Kolber and Trey Wingo as New NFL Studio Hosts

NFL Approves Raiders’ Move to Las Vegas (Video)

The NFL overwhelmingly approved the Oakland Raiders’ planned relocation to Las Vegas, Nevada with team owners voting 31-1 in favor of the move on Monday. The team will continue to play at The Oakland-Alameda County Coliseum for a few years as construction on a desert stadium begins — there may be a temporary relocation for 2019.

Watch the National Football League commissioner Roger Goodell’s remarks about the vote here:

Commissioner Roger Goodell’s opening statement regarding the Raiders relocation to Las Vegas. https://t.co/tvfjzfts5h

— NFL (@NFL) March 27, 2017

Oh, and in case you were wondering, the lone dissenting vote came from Miami Dolphins owner Stephen Ross. He’s far less excited than Raiders owner Mark Davis.

Also Read: Former NFL Player Arrested While Naked, Again

“My father always said, ‘the greatness of the Raiders is in its future,’ and the opportunity to build a world-class stadium in the entertainment capital of the world is a significant step toward achieving that greatness,” Davis said in a statement. “I would like to thank Commissioner Goodell, the National Football League and my 31 partners. I would also like to thank Governor Brian Sandoval and the Nevada Legislature for their commitment. Finally, I would like to thank Sheldon Adelson for his vision and leadership, without which this project never would have become a reality.

“The Raiders were born in Oakland and Oakland will always be part of our DNA. We know that some fans will be disappointed and even angry, but we hope that they do not direct that frustration to the players, coaches and staff,” he continued. “We plan to play at the Coliseum in 2017 and 2018, and hope to stay there as the Oakland Raiders until the new stadium opens. We would love nothing more than to bring a championship back to the Bay Area.”

Here’s more from him:

Raiders owner Mark Davis discusses the decision to relocate the team to Las Vegas. https://t.co/9uIHq8FslE

— NFL (@NFL) March 27, 2017

Also Read: ESPN Names Samantha Ponder, Suzy Kolber and Trey Wingo as New NFL Studio Hosts

Raiders starting quarterback Derek Carr had his own message for fans of the team. Read that here:

pic.twitter.com/098jyV4zmW

— Derek Carr (@derekcarrqb) March 27, 2017

The Raiders have been lobbying the City of Oakland for a new stadium for many years, though they could never come to terms. The team toyed with the idea moving to Los Angeles like the Rams, but will instead find a new home in a billion dollar-plus dome near Sin City.

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The NFL overwhelmingly approved the Oakland Raiders’ planned relocation to Las Vegas, Nevada with team owners voting 31-1 in favor of the move on Monday. The team will continue to play at The Oakland-Alameda County Coliseum for a few years as construction on a desert stadium begins — there may be a temporary relocation for 2019.

Watch the National Football League commissioner Roger Goodell’s remarks about the vote here:

Oh, and in case you were wondering, the lone dissenting vote came from Miami Dolphins owner Stephen Ross. He’s far less excited than Raiders owner Mark Davis.

“My father always said, ‘the greatness of the Raiders is in its future,’ and the opportunity to build a world-class stadium in the entertainment capital of the world is a significant step toward achieving that greatness,” Davis said in a statement. “I would like to thank Commissioner Goodell, the National Football League and my 31 partners. I would also like to thank Governor Brian Sandoval and the Nevada Legislature for their commitment. Finally, I would like to thank Sheldon Adelson for his vision and leadership, without which this project never would have become a reality.

“The Raiders were born in Oakland and Oakland will always be part of our DNA. We know that some fans will be disappointed and even angry, but we hope that they do not direct that frustration to the players, coaches and staff,” he continued. “We plan to play at the Coliseum in 2017 and 2018, and hope to stay there as the Oakland Raiders until the new stadium opens. We would love nothing more than to bring a championship back to the Bay Area.”

Here’s more from him:

Raiders starting quarterback Derek Carr had his own message for fans of the team. Read that here:

The Raiders have been lobbying the City of Oakland for a new stadium for many years, though they could never come to terms. The team toyed with the idea moving to Los Angeles like the Rams, but will instead find a new home in a billion dollar-plus dome near Sin City.

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Oakland Fire Update: Facebook Post by Warehouse Leader Sparks Outrage

The death toll in this weekend’s Oakland warehouse fire has now risen to 30, according to the local sheriff’s office in the northern California city.

As loved ones toil and mourn, the man who allegedly lead the artist collective at the space that caught fire on Friday night wrote a Facebook post that is sparking an outpouring of ire online.

Also Read: Oakland Rave Fire: Record Label That Put on Party Issues Statement About ‘Unbelievable Tragedy’

Derick Alemany, who goes by “Derick Ion” on Facebook, wrote on Saturday: “Confirmed. Everything I worked so hard for is gone. Blessed that my children and Micah were at a hotel safe and sound… it’s as if I have awoken from a dream filled with opulence and hope…. to be standing now in poverty of self worth.”

The post soon fell under harsh criticism, with many commenters pointing out that Alemany focused on mourning the loss of his material possessions rather than pay tribute to those who died in the fire.

Also Read: Oakland Rave Fire Was at Artist Conclave Called ‘Ghost Ship’

“And you are the one who allowed this fire trap to exist and invited hundreds to endanger their lives, over and over, until the worst happened,” wrote Milena Hileman. “You were warned by the authorities two years ago and did nothing. Friends told you what a hazard it was and you laughed, each and every time. I hope you go to prison for these senseless deaths.”

“Wow…all your ‘stuff’ is gone…scores of dead people and you’re f—ing worried about stuff?!! What a f—ing a–hole,” wrote Brad Trent, echoing the thoughts of the majority of people who responded to the post and who are also expressing horror over Alemany’s insensitive comments on other social media sites.

Here are a few other comments:

Chor N Ng, owner of #oaklandfire warehouse, owns more than 24 buildings in Bay area. He & #derickion are getting skewered by public opinion https://t.co/B2PhwejWnv

— Jus’Curious (@juskurius) December 4, 2016

This is what #DerickIon is responsible for…and that’s only the ones “easily” found. Hope he has a really good attorney. #oaklandfire pic.twitter.com/j0nVb8ekKJ

— cLAiRe ???????????? (@mohiclaire) December 4, 2016

SELF-ABSORBED MUCH?! What a greedy, small man. How convenient your family was in a hotel. #bloodyhands #DerickIon #oaklandfire pic.twitter.com/GKV1M89z49

— cLAiRe ???????????? (@mohiclaire) December 4, 2016

Ion did not immediately respond when TheWrap reached out to him on Sunday.

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At Least 9 Dead in Oakland Warehouse Party Fire (Update)

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The death toll in this weekend’s Oakland warehouse fire has now risen to 30, according to the local sheriff’s office in the northern California city.

As loved ones toil and mourn, the man who allegedly lead the artist collective at the space that caught fire on Friday night wrote a Facebook post that is sparking an outpouring of ire online.

Derick Alemany, who goes by “Derick Ion” on Facebook, wrote on Saturday: “Confirmed. Everything I worked so hard for is gone. Blessed that my children and Micah were at a hotel safe and sound… it’s as if I have awoken from a dream filled with opulence and hope…. to be standing now in poverty of self worth.”

The post soon fell under harsh criticism, with many commenters pointing out that Alemany focused on mourning the loss of his material possessions rather than pay tribute to those who died in the fire.

“And you are the one who allowed this fire trap to exist and invited hundreds to endanger their lives, over and over, until the worst happened,” wrote Milena Hileman. “You were warned by the authorities two years ago and did nothing. Friends told you what a hazard it was and you laughed, each and every time. I hope you go to prison for these senseless deaths.”

“Wow…all your ‘stuff’ is gone…scores of dead people and you’re f—ing worried about stuff?!! What a f—ing a–hole,” wrote Brad Trent, echoing the thoughts of the majority of people who responded to the post and who are also expressing horror over Alemany’s insensitive comments on other social media sites.

Here are a few other comments:

Ion did not immediately respond when TheWrap reached out to him on Sunday.

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At Least 9 Dead in Oakland Warehouse Party Fire (Update)

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Oakland Rave Fire: Record Label That Put on Party Issues Statement About ‘Unbelievable Tragedy’

100% Silk, the electronic music label that put on the warehouse party where a fire killed 9 people Friday, posted a statement Saturday offering up resources for friends and family of the victims.

Golden Donna, Cherushii and Nackt were among the acts scheduled to perform on the Los Angeles-based label’s West Coast tour.

The call about the fire in the Fruitvale neighborhood came in at around 11:30 p.m, reported the New York Times. The party at 1305 31st Avenue had started at 9 p.m., and at least 100 people were in the building when the fire started, said Oakland Fire Chief Teresa Deloach Reed. Most of the deceased were on the second floor because there was only one way down on a stairway made of pallets, according to CNN.

Also Read: At Least 9 Dead in Oakland Warehouse Party Fire (Update)

“It must have been a very fast-moving fire,” Reed told reporters Saturday morning. She added that the building “was kind of like an artist studio” that had partitions to break up where the artists worked.

CNN reported that firefighters have not been able to search the entire building, given that they first have to remove the debris and make sure the building is safe for entry. However, authorities are preparing for up to 40 casualties.

Also Read: Oakland Rave Fire Was at Artist Conclave Called ‘Ghost Ship’

In the Facebook post for the event, people have been posting the names of the people, including the names of artists and performers, they believe attended the warehouse party in hopes that it will aid authorities.

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100% Silk, the electronic music label that put on the warehouse party where a fire killed 9 people Friday, posted a statement Saturday offering up resources for friends and family of the victims.

Golden Donna, Cherushii and Nackt were among the acts scheduled to perform on the Los Angeles-based label’s West Coast tour.

The call about the fire in the Fruitvale neighborhood came in at around 11:30 p.m, reported the New York Times. The party at 1305 31st Avenue had started at 9 p.m., and at least 100 people were in the building when the fire started, said Oakland Fire Chief Teresa Deloach Reed. Most of the deceased were on the second floor because there was only one way down on a stairway made of pallets, according to CNN.

“It must have been a very fast-moving fire,” Reed told reporters Saturday morning. She added that the building “was kind of like an artist studio” that had partitions to break up where the artists worked.

CNN reported that firefighters have not been able to search the entire building, given that they first have to remove the debris and make sure the building is safe for entry. However, authorities are preparing for up to 40 casualties.

In the Facebook post for the event, people have been posting the names of the people, including the names of artists and performers, they believe attended the warehouse party in hopes that it will aid authorities.

Related stories from TheWrap:

Sean Murphy, Oakland A's Minor League Pitcher, Dies at 27

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Oakland Rave Fire Was at Artist Conclave Called ‘Ghost Ship’

A fire which killed at least 9 people at a rave in Oakland, Calif. on Friday broke out at a building known to residents and neighbors as “the Oakland Ghost Ship.”

The building is a large warehouse that has a skull and other artwork painted on the outside, SF Gate reported. The complex inside is made up of hand-built work spaces for musicians and artists.

The publication spoke to Al Garcia, an owner of a business across the street from the Ghost Ship, who said he had feared in the past that the space was a fire hazard due to the amount of debris lying around. The people that lived there have been trying to clean it up, he said.

Also Read: At Least 9 Dead in Oakland Warehouse Party Fire (Update)

“People have been living inside, and the neighbors have complained about it,” he said. “Some of these young people that were in there were underage. They frequently had parties there.”

Oakland Fire Chief Teresa Deloach Reed said Friday that she had heard reports that people had been living in the conclave although they didn’t find any bedrooms. It wasn’t clear how many had resided there — if any at all — according to CNN.

Also Read: Sean Murphy, Oakland A’s Minor League Pitcher, Dies at 27

Reed said that perhaps up to 100 people were in the building when the fire started. Most of the deceased were on the second floor because there was only one way down via a stairway made of pallets, according to CNN. Taylor Selby, who had been to the Ghost Ship several times, spoke to SF Gate about the staircase.

“It was this wonky, winding staircase,” Selby said. “It wasn’t even stairs in some places, just like planks of wood. Obviously, it was all hand-made.”

She added, “That place, it was just out of this world. It was like walking into another dimension in there. Like you weren’t even in Oakland.”

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A fire which killed at least 9 people at a rave in Oakland, Calif. on Friday broke out at a building known to residents and neighbors as “the Oakland Ghost Ship.”

The building is a large warehouse that has a skull and other artwork painted on the outside, SF Gate reported. The complex inside is made up of hand-built work spaces for musicians and artists.

The publication spoke to Al Garcia, an owner of a business across the street from the Ghost Ship, who said he had feared in the past that the space was a fire hazard due to the amount of debris lying around. The people that lived there have been trying to clean it up, he said.

“People have been living inside, and the neighbors have complained about it,” he said. “Some of these young people that were in there were underage. They frequently had parties there.”

Oakland Fire Chief Teresa Deloach Reed said Friday that she had heard reports that people had been living in the conclave although they didn’t find any bedrooms. It wasn’t clear how many had resided there — if any at all — according to CNN.

Reed said that perhaps up to 100 people were in the building when the fire started. Most of the deceased were on the second floor because there was only one way down via a stairway made of pallets, according to CNN. Taylor Selby, who had been to the Ghost Ship several times, spoke to SF Gate about the staircase.

“It was this wonky, winding staircase,” Selby said. “It wasn’t even stairs in some places, just like planks of wood. Obviously, it was all hand-made.”

She added, “That place, it was just out of this world. It was like walking into another dimension in there. Like you weren’t even in Oakland.”

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At Least 9 Dead in Oakland Warehouse Party Fire

A fire that broke out Friday night during a warehouse party in Oakland, California, may have killed up to 40 people. At least 9 people were confirmed dead, police said.

BREAKING: Sheriff says officials prepared to deal with up to 40 deaths in Oakland, California nightclub fire.

— The Associated Press (@AP) December 3, 2016

Oakland Fire Chief Teresa Deloach Reed said that perhaps up to 100 people were in the building when the fire started. Most of the deceased were on the second floor because there was only one way down on one stairway made of pallets, according to CNN.

The call about the fire in the Fruitvale neighborhood came in at around 11:30 p.m, reported the New York Times. The party at 1305 31st Avenue had started at 9 p.m., according to the Facebook page for the event.

Also Read: Sean Murphy, Oakland A’s Minor League Pitcher, Dies at 27

People have been using the Facebook page to post the names of the people, including the names of artists and performers, they believe attended the warehouse party in hopes that it will aid authorities.

“Hi, I am here with the fire inspector going through the list of missing names of missing/safe,” wrote one woman. “I am requesting that you only post in this thread their name and missing or safe next to it.”

Also Read: Oakland Athletics’ A Tribe Called Quest Tribute Really Has a Lot of Flavor

“It must have been a very fast-moving fire,” Reed told reporters Saturday morning. She added that the building “was kind of like an artist studio” that had partitions to break up where the artists worked.

CNN reported that firefighters have not been able to search the entire building, given that they first have to remove the debris and make sure the building is safe for entry.

The Alameda County Sheriff’s Coroner’s Bureau has been called to the scene. Facebook is now offering the Safety Check feature so people who attended the party can let loved ones know they are safe.

See a video of the fire below.

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A fire that broke out Friday night during a warehouse party in Oakland, California, may have killed up to 40 people. At least 9 people were confirmed dead, police said.

Oakland Fire Chief Teresa Deloach Reed said that perhaps up to 100 people were in the building when the fire started. Most of the deceased were on the second floor because there was only one way down on one stairway made of pallets, according to CNN.

The call about the fire in the Fruitvale neighborhood came in at around 11:30 p.m, reported the New York Times. The party at 1305 31st Avenue had started at 9 p.m., according to the Facebook page for the event.

People have been using the Facebook page to post the names of the people, including the names of artists and performers, they believe attended the warehouse party in hopes that it will aid authorities.

“Hi, I am here with the fire inspector going through the list of missing names of missing/safe,” wrote one woman. “I am requesting that you only post in this thread their name and missing or safe next to it.”

“It must have been a very fast-moving fire,” Reed told reporters Saturday morning. She added that the building “was kind of like an artist studio” that had partitions to break up where the artists worked.

CNN reported that firefighters have not been able to search the entire building, given that they first have to remove the debris and make sure the building is safe for entry.

The Alameda County Sheriff’s Coroner’s Bureau has been called to the scene. Facebook is now offering the Safety Check feature so people who attended the party can let loved ones know they are safe.

See a video of the fire below.

Related stories from TheWrap:

Dolly Parton Launches 'My People Fund' for Victims of Tennessee Wildfires (Video)

Ron Glass, 'Barney Miller' and 'Firefly' Actor, Dies at 71 (Updated)

Oakland Athletics’ A Tribe Called Quest Tribute Really Has a Lot of Flavor

 

With apologies to the Cleveland Indians, some baseball fans are focused today on a different Tribe.

The Oakland Athletics’ Twitter feed is celebrating the release of the (excellent) new A Tribe Called Quest album with a series of tweets and Facebook posts pairing Athletics GIFs with the names of ATCQ classics. A smooth catch by Jake Smolinski is titled “Electric Relaxation.” Some air-drumming in the dugout is called “Jazz (We Got).” Two players studying a tablet? “Lyrics to Go.”

If the blend of baseball and hip-hop sounds weird, bear in mind: Tribe’s Phife Dawg was living in Oakland before he died. He traveled back and forth while working on the new, final Quest album, “We Got It From Here… Thank You 4 Your Service.”

Also Read: R.I.P. Phife Dawg: An Appreciation, From Near El Segundo

Phife was known for dropping sports references into songs. On the group’s “Award Tour,” which shouts outs Oakland, Phife delivers the line, “Coming with more hits than the Braves and the Yankees.”

It’s safe to call the A’s Twitter feed the hottest in baseball, not that there’s much competition. It drew lots of attention last month for a good-natured feud with the 90s band Smashmouth after the group inexplicably called the A’s “a joke.”

At one point the back and forth included the A’s tweeting at Smashmouth: “Guess you’ve got it all figured out. Except how to make a hit since 1999.”

Also Read: Phife Dawg Tribute: Can This Traffic Reporter Kick It? Yes, He Can (Video)

We can’t wait to see what they do for the next E-40 album. It’s out next week.

Related stories from TheWrap:

Phife Dawg Tribute: Can This Traffic Reporter Kick It? Yes, He Can (Video)

R.I.P. Phife Dawg: An Appreciation, From Near El Segundo

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With apologies to the Cleveland Indians, some baseball fans are focused today on a different Tribe.

The Oakland Athletics’ Twitter feed is celebrating the release of the (excellent) new A Tribe Called Quest album with a series of tweets and Facebook posts pairing Athletics GIFs with the names of ATCQ classics. A smooth catch by Jake Smolinski is titled “Electric Relaxation.” Some air-drumming in the dugout is called “Jazz (We Got).” Two players studying a tablet? “Lyrics to Go.”

If the blend of baseball and hip-hop sounds weird, bear in mind: Tribe’s Phife Dawg was living in Oakland before he died. He traveled back and forth while working on the new, final Quest album, “We Got It From Here… Thank You 4 Your Service.”

Phife was known for dropping sports references into songs. On the group’s “Award Tour,” which shouts outs Oakland, Phife delivers the line, “Coming with more hits than the Braves and the Yankees.”

It’s safe to call the A’s Twitter feed the hottest in baseball, not that there’s much competition. It drew lots of attention last month for a good-natured feud with the 90s band Smashmouth after the group inexplicably called the A’s “a joke.”

At one point the back and forth included the A’s tweeting at Smashmouth: “Guess you’ve got it all figured out. Except how to make a hit since 1999.”

We can’t wait to see what they do for the next E-40 album. It’s out next week.

Related stories from TheWrap:

Phife Dawg Tribute: Can This Traffic Reporter Kick It? Yes, He Can (Video)

R.I.P. Phife Dawg: An Appreciation, From Near El Segundo

Dave Chappelle to Make 'SNL' Hosting Debut During Election Week